20
Carlton Street, Suite 1032, Toronto, ON
M5B 2H5
(416)
677-5883
langfieldent@rogers.com
www.langfieldentertainment.com
LE
NEWSLETTER
May 3, 2007
Happy Cinco de Mayo! OK, so that's a celebration which means "The Fifth of May" in Spanish and
is a national holiday in Mexico which is also widely celebrated in the United
States - but hey, the weather is cooperating on this side of the country so
it's all good!
I have some really fun events listed below starting with World Comedy Clash: Mother’s Day Edition with proceeds going to the Canadian Cancer Society next weekend. Then for Victoria Day
weekend and for those that love old skool, there's the Official
Toronto WBLK Reunion Party featuring
all of your favourite WBLK hosts from back in the day! Get those tickets
now as these events sell out - don't miss out!
::HOT EVENTS::
World Comedy Clash: Mother’s Day Edition – May 12 – 13
Source: Ajahmae Live Entertainment and SFS Entertainment
Some of Toronto’s largest communities will expose their cultural
differences on stage in a stand-up comedy clash: Trinidad, Jamaica, England,
America, India, Barbados, Ghana, Uganda, Canada. This hilarious
satire of a friendly rivalry between these 9 countries is performing for two
shows at the Panasonic Theatre May 12 and
May 13, Mother’s Day weekend.
World Comedy Clash: Mother’s Day Edition will allow the audience to laugh as well as learn about the
differences in these contrasting cultures through stand-up comedy. “All
styles are equally funny,” says Jay Martin / comedian / producer / founder,
“Jamaican stand-up is more of a theatrical performance. It’s a more physical
comedy while Trinidadian comics are more spontaneous with their humour.”
Martin, who lost his mother 20 years ago, has dedicated this show to mothers
across the Greater Toronto Area. In honour of the memory of his mother,
World Comedy Clash is donating proceeds to the Canadian
Cancer Society. This show is appropriate for all
ages.
The performers include:
Marc Trinidad, Jean Paul, Trinidad
Drew Thomas, USA
MacFingall, Barbados
Trixx, Ghana
Jay Martin, Trey Anthony, Jamaica
Paul Chouldry, India
Junior Simpson, England
Art Simeon, Uganda
The show will be hosted by Canadian-Jamaican Jay
Martin, who was recently named Toronto’s Best New
Nubian Comedian. “I also chose Mother’s Day for this show because it’s
probably one of the saddest days of the year for mothers who have lost children
and children who have lost their mothers.” says Martin.
Founded in 2005, Mothers day Comedy Clash looks to be bigger, bolder and
funnier than last year’s sold-out show.
SATURDAY, MAY 12 AND SUNDAY, MAY 13
WORLD COMEDY CLASH: MOTHER’S DAY EDITION COMEDY CLASH
Panasonic Theatre
651 Yonge Street (between Bloor and Wellesley)
7:00 pm
Tickets are Orchestra - $50.00, Balcony - $40.00
Tickets: call 416.872.1111 or visit www.ticketmaster.ca
All Nappy’s locations and Play De Record (357A Yonge St.)
For more information, please visit: www.comedyclash.com
The Official Toronto WBLK Reunion Party- Sunday, May 20
Source: Consepshun Entertainment
For all of the true old school guru's …
remember a radio station out of
Buffalo NY that we all used to listen to during the 80's and 90's? Do the
names DJ Huk-her, Terri Davis, Al Wood, Debbie Simms and The Magic Man ring a
bell? What about a little segment from 10 pm 'til 2 am called the QUIET
STORM?
Join us on Victoria Day Long Weekend Sunday featuring all of your favourite
WBLK hosts from back in the day: DJ Huk-her, Terri Davis, The Magic Man &
Al Wood - (R.I.P. Break-a-Dawn) as well as a fashion show by Jane Pascale
showcasing her designer swimwear line Adjua. Music will be
provided by DJ Quincy (Ebony Soundcrew), Carl Allen, DJ Wayne (Old School
Request Party), The "Mailman" George Fynn and Reddy Fox. The
evening will be hosted by comedian Jay Martin.
SUNDAY, MAY 20, 2007
THE OFFICIAL TORONTO WBLK (93.7FM,
BUFFALO) REUNION PARTY
and GQ Henderson of MOVE aphrodisiac
birthday bash
6 Degrees Night Club (formerly Berlin)
2335 Yonge Street (north of Eglinton)
Dress to impress
Doors open at 9:30 pm
Tickets: $20 in advance
Contact : info@consepshun.com, eddie@gotoaparty.com or call
416-781-1695 ext. 3 to purchase tickets or see ticket outlet location on the
flyer
www.consepshun.com
::JUST MY OPINION::
Customer Service - A Thing of the Past?
Having just moved, I've had to purchase some small and some big
items - both with the major inconvenience of poor customer service. It
seems that for the busy consumer that shops online or by phone like me, they
certainly have not come close to perfecting the art of ensuring customer
satisfaction. For me, what's the point of going to the store if I cannot
get it home. Besides, online shopping often offers better prices.
Example #1: First, I had to order some furniture. Excited about the
prospect of owning some new pieces, I wanted to shop somewhere that I thought
of as reliable. How more reliable can you get than Sears?
sigghhh Or so I thought. I order two pieces and picked the date of
delivery online. I confirmed the order and delivery the day before after
booking 1/2 day off - because their drivers won't call when they are on their
way to your destination to give you a heads up. OK. So I
concede. The night before the delivery is supposed to happen, I
get a call from Sears saying that the furniture did not arrive in their
warehouse from the manufacturer and they changed the delivery date.
So, not only do I not have my furniture but now they want to change the
delivery date at their discretion - more time off work. When I called to see if
they could guarantee the delivery, they admitted they could not.
Whaaaa? So, I cancelled the order. No furniture.
Example #2: So, I tried to ease the pain by ordering a skin care line. No
problem - lots of 'freebies' with promises of a two day delivery. Two
weeks later, no skin care line. When I called, they said it was
back-ordered but if I changed my order, they promised me the two day delivery
again. So, I change the order. One month later, no skin care
line. So, I cancelled the order with attitude from the person on the
other end of the phone no less.
Example #3: Moving on. IKEA - the store I love to hate. I can't go
in that store but hey, how difficult could it be to shop online? I made
the order fairly painlessly. But no email confirmation, no quote on
delivery, no nothing. What about delivery and how much is it? I was told
it's $129 for delivery. But if I cancel my online order and order by
phone, it would be faster. How much faster? Well, probably less
than ... two weeks! Whaaa? But the happy ending is that the
furniture arrived (only a four hour time frame) five days later. Alas,
the light at the end of the tunnel? No, another disadvantage of shopping
online - the stuff is too small for what I need! (siggh)
It is apparent that customer service almost everywhere is lacking today -
regardless of whether you pay top dollar or not. Here's my tip: it
doesn't take much to go that extra mile when providing a service. It
creates loyalty and that you're getting what you pay for.
And that's just my opinion.
::TOP STORIES::
Stylus
Group Announces Nominees For 2007 Rogers Stylus DJ Awards
(April 30, 2007) TORONTO – Today
the Stylus Group,
a Canadian organization formed to recognize, develop and represent the urban
DJs of Canada, unveiled the nominees for the 2007
Rogers Stylus DJ Awards taking
place on June 4th in Toronto. Racking up three nominations
each are: Baby Yu (Toronto), Court Jester (Toronto), Dr Jay
(Toronto), Jr Flo (Toronto), Kwite Sane (Montreal), Law
(Toronto), P Plus (Toronto), Quest (Montreal). Following
closely behind with two nominations each are: Baba Kahn (Toronto), Boogeymen
(Toronto), Flipout (Vancouver), Grouch (Toronto), IV (Halifax),
Lindo P (Toronto), Pump (Calgary), Ritz (Toronto), Spex
(Toronto), and Team Canada (Montreal). (To view a complete listing
of the categories and nominees for the 2007 Rogers Stylus DJ Awards, see
below or visit www.stylusgroup.ca).
Thousands of industry leaders and DJ fans from across the country visited www.stylusgroup.ca to
cast their vote online for their favourite DJ and select the nominees.
The 2007 winners will be determined by a random panel composed of industry
experts. The awards will celebrate and recognize achievements in 23
categories, including the following four new features: Best Female DJ, Best
Mixtape DJ, College Radio Show of the Year, and Underground Hip Hop DJ
of the Year.
The highlight of the night’s special recognitions will be two Canadian Hall of
Fame inductions. Killowatt Productions , the youngest of the
Toronto DJ and Hip Hop-culture pioneers who emerged in the late 1970s and were
the only sound crew that had both a female DJ and female emcee, and Dr. Soul
“Len P” , who opened Club 747 in 1983 to introduce Funk, R&B Hip Hop
and Soul to the Ottawa-Hull region and started a weekly Sunday specifically for
youth to DJ and break dance in Confederation Park, will be the admitted into
the Stylus DJ Awards Canadian Hall of Fame for their lifetime
contribution to the urban music industry.
The Stylus DJ Awards is Canada’s only national DJ awards show. The
awards were created in an effort to acknowledge the success of urban DJs,
emcees, musicians and record labels for their strong influence on Canada’s
music and entertainment industry, and for their contribution to pop
culture. It was the brainchild of Mike Zafiris, and the attention and
level of success the awards show received last year, prompted its return again
this year. “The 2007 nominees are a great representation of some of
Canada’s finest DJs and the world’s most respected talents,” says Mike Zafiris,
founder of Flavor Record Pool and creator of the Stylus DJ Awards. “I am
very pleased to present a female category this year and excited for all the
fresh up-and-comers!”
The 2007 Rogers Stylus DJ Awards will be hosted by Club MC of the
Year nominees, RG and Trixx. DJ Starting from
Scratch, three-time winner from the 2006 awards, will be the official DJ of
the 2007 Stylus DJ Awards. The show will feature music supplied by
Canada’s finest DJs, as well as exciting artist performances and surprise guest
appearances that will be announced soon. The event is co-presented by
Rogers Music Store and the Nokia 5300 XpressMusic mobile phone. Generous
supporters also include: MuchVIBE, Flow 93.5FM, Sean John, Yahoo Canada,
Ortofon, American Audio, Pioneer, Capital Prophet, Universal Music, Sony BMG,
Warner Music, Koch Entertainment, myTego Inc., Cyberkrib, and Dose.ca.
The 2007 Rogers Stylus DJ Awards will take place on Monday, June 4th
in Toronto at the Palais Royale Ballroom, 1601 Lakeshore Blvd. W. Doors
will open at 7 p.m. for nominees and performers to walk the Red Carpet and the
Awards Show will commence at 8 p.m. Tickets are available for $25 through
Ticket Break via www.stylusgroup.ca
and Play de Record in Toronto.
For further information, please email info@stylusgroup.ca or visit www.stylusgroup.ca
2007
ROGERS STYLUS DJ AWARDS
Co-presented by Rogers Music Store and the
Nokia 5300 XpressMusic mobile phone
Categories
and Nominees
College
Radio Show of the Year - presented by Sounds Distribution
Court Jester & Chief (Worldwide) CIUT, Toronto
Ev Starr and DTS (Masterplan Show) CIUT, Toronto
Grouch (Soundcheck) CHRY, Toronto
Law (Project Bounce) CIUT, Toronto
Ritz (Project Bounce) CIUT, Toronto
Static (We Funk Radio) CKUT, Montreal
Taktiks & Linx (Mixtape Masacre) CKLN, Toronto
Underground Hip Hop DJ of the Year - presented by Koch Entertainment
Grouch (Toronto)
IV (Halifax)
Law (Toronto)
Neoteric (Vancouver)
P Plus (Toronto)
Ritz (Toronto)
Serious (Toronto)
Female DJ of the Year
Dalia (Toronto)
GunznRozez – Tasha Rozez (Toronto)
Killa Jewelz (Montreal)
Mel Boogie (Toronto)
Peaches (Montreal)
Si Vu Play (Toronto)
Torus (Montreal)
Mixtape DJ of the Year - presented by Sean John
Arems (Vancouver)
Baby Yu (Toronto)
Glew (Toronto)
Jay B (Montreal)
Jr. Flo (Toronto)
Kwite Sane (Montreal)
Law (Toronto)
Pump (Calgary)
Rated R (Toronto)
Wristpect (Toronto)
Reggae DJ of the Year
Assassins Soundcrew (Montreal)
Black Reaction (Toronto)
Fire Kid Steenie (Toronto)
King Turbo (Toronto)
Lindo P. (Toronto)
Little Thunder (Montreal)
Spex (Toronto)
Soca DJ of the Year
Court Jester (Toronto)
D’Bandit (Toronto)
D’Enforcas (Toronto)
Dr. Jay (Toronto)
Soca Monarchs (Toronto)
Soca Sweetness (Toronto)
TnT Styles (Montreal)
Club DJ of the Year - presented by Rogers MusicStore & Nokia 5300
XpressMusic
4 Korners (Toronto)
Baba Kahn (Toronto)
Baby Yu (Toronto)
Boogeyme’n (Toronto)
Court Jester (Toronto)
Ill Kidz (Toronto)
Jr. Flo (Toronto)
Kwite Sane (Montreal)
Quest (Montreal)
Team Canada (Montreal)
Radio Mixshow DJ of the Year - presented by Pioneer
Boogeyme’n (Flow) Toronto
Don Smooth (K 103) Montreal
Dr. Jay (Flow) Toronto
Flipout and J-Swing (The Beat) Vancouver
P Plus (Flow) Toronto
Quest (Mix 96) Montreal
Spence Diamonds (Z103) Toronto
Spex (Flow) Toronto
Club MC of the Year
Chops Wunda (Montreal)
Kid Kut (Toronto)
Lindo P. (Toronto)
RG (Toronto)
Scott Boogie (Toronto)
T-Rexxx (Toronto)
Trixx (Toronto)
Vancouver DJ of the Year
Flipout
Hedspin
J-Swing
Kemo
Knowledge
Rexx
Calgary DJ of the Year
Beat Matrix
Boom Shot
Nitro
Pump
Smalltown DJs
Edmonton DJ of the Year
Bombsquad
Gamegirl
Harman B.
Kwake
Spincycle
Winnipeg DJ of the Year
@Large
D-Lo
Fin-S
Hipnotic
Hunnicutt
Toronto DJ of the Year
Baba Kahn
Baby Yu
Divsa
Dr Jay
Jr Flo
P Plus
Ottawa DJ of the Year
Bojangles
Drastik
Ebony and Ivory
Massive Vibes
T-Wrecks
Montreal DJ of the Year
A-Trak
GoonTribe – DJ Kidd & DJ Goldenchild
Kwite Sane
Quest
Skratch Bastid
Team Canada – DR-1 & Grandtheft
Halifax DJ of the Year
IV
Plae Boi
RS Smooth
Scarface
Trixx
Canadian Hip Hop Single of the Year presented by MuchVibe
Belly ft. Ginuwine – Pressure – Capital Prophet
Choclair – What I Do – Independent
Classified – Find Out – Urbnet
Daetona – Dialtone – Independent
Drake ft. Trey Songz – Replacement Girl – ATF
Kardinal Offishall ft Bedouin Soundclash – Last Standing Soldier – EMI
K-os – Sunday Morning – EMI
Point Blank – Born and Raised in the Ghetto – Tiltrock Records
Canadian R&B Single of the Year presented by MuchVibe
Addictiv ft. Pitbull – Little Game – Urban Heat Inc.
Big Black Lincoln – In The Hood – Capitol Hill Music
Carl Henry – Beautiful – Cesoul Music
E3 ft. Kardinal Offishall – Blunted – Independent
George – Talk to Me remix – HC Entertainment Group
Keshia Chante – 2 U – Sony BMG
Nelly Furtado – Say It Right – Universal Music
International Hip Hop Single of the Year
Chamillionaire – Ridin’ – Universal Music
Jay Z ft Chrisette Michele – Lost Ones – Universal Music
Jim Jones – We Fly High – Koch Records
Lupe Fiasco – Kick Push – Warner Music
Mims – This Is Why I’m Hot – EMI
Rich Boy – Throw Some D’s – Universal Music
International R&B Single of the Year
Akon ft. Snoop Dogg – I Wanna Love You – Universal Music
Beyonce – Irreplaceable – Sony BMG
Justin Timberlake ft T.I. – My Love – Sony BMG
Ne –Yo – Sexy Love – Universal Music
Omarion – Ice Box – Sony BMG
Timbaland ft Nelly Furtado & Justin Timberlake – Give It To Me – Universal
Music
Label Rep of the Year
Carey Riley – SONY BMG
Jay Devonish – Koch
Jahmal Sang – EMI
Jody Laraya - Universal Music
Kevin “Ice” White – EMI
Spincycle – Warner Music
Hall of Fame Recipient
Killowatt Productions – Toronto
Dr. Soul “Len P” – Ottawa
Strung
Out Still Smooth
Excerpt
from www.thestar.com -
(April 28, 2007) Strung Out Troubadours were
the big winners, nailing two
of their three nominations, Album of the Year and Duo of the Year, at last
night's Canadian Smooth Jazz Awards. The
collaboration between former Triumph singer/guitarist Rik Emmett and guitarist
Dave Dunlop grew out of the public's response to Dunlop's guest appearances
during Emmett's concerts. The pair's self-titled album, with "acoustic
folk roots for serious guitar lovers," was acknowledged at the third
annual gala event held in Hammerson Hall at The Living Arts Centre in Mississauga.
Carol Welsman took the Keyboardist/Pianist title for the second consecutive
year, while husband-wife Marc Jordan and Amy Sky performed together, but won
separate awards: he for Male Vocalist and she for Best Original Composition
with Eddie Schwartz for "Everything Love Is." "That was an
amazing evening. Every year it gets bigger and more fun. The WAVE can't wait to
do it all again next year," said awards co-chair Mary Kirk, music director
of Hamilton-based smooth jazz radio station WAVE 94.7 FM.
Other winners included: Kellylee Evans (Female Vocalist), Warren Hill (Wind
Instrumentalist), Johannes Linstead (Guitar),
Nick Colionne (International Instrumentalist), Al Jarreau (International
Vocalist) and WAVE 94.7 FM's Gary James (Broadcaster). The George Benson
Lifetime Achievement Award was presented to 10-million-selling supergroup Spyro
Gyra, led for three decades by saxist Jay Beckenstein. The selections
were made online by about 2000 jazz fans across the country.
Ricky Martin - Singer, Dancer, Humanitarian
Excerpt from www.thestar.com - Ashante
Infantry, Pop & Jazz Critic
(May 01, 2007) That Ricky Martin sure knows how to throw
a party. From the moment he took the stage at the Air Canada Centre last
night, the former teen heartthrob was an energetic, entertaining force. For
most of the two-hour set, the singer's capable voice took a back seat to the
tremendous physicality of his capoeira-style moves (replete with handstands and
buoyed by six dancers); the technical wizardry of his massive stage (which
included conveyer belts, trap doors and mesh screens); and the expertise of the
muscular band backing him both electrically and acoustically. Then there was
the body that is Ricky: often barefoot, buff in jeans and tank tops (though not
leather pants) through half a dozen costume changes, or unveiled in all its
nude, tattooed glory on gratuitous video clips. He sang mostly in Spanish, but
addressed the crowd in English and delivered a frenetic version of his biggest
American hit, "Livin' La Vida Loca." One of the sillier segments
found him singing more than half of a ballad behind a screen, seemingly to tease
the crowd through separation. They deserved it though, screaming to hoarseness
whenever he moved a hip or arched a brow.
Then, just when you were ready to dismiss the 35-year-old Puerto Rico native as
lightweight eye candy, he delivered a sombre five minute spiel on gratitude,
faith and the pursuit of simplicity as an introduction to "Somos La
Semilla (We Are the Seed), which he sang before a scrolling photo montage
depicting poor, ill and war-torn people. Then, the entertainer, who came of age
in Latin boy band Menudo (which is being revived) before debuting as a solo
artist in 1991 and selling 55 million records worldwide, dedicated a song to
the 12-year-old self that he says he left behind in the pursuit of fame and
excellence. Martin has been flexing his political muscles of late, shilling for
global charities and sending President George W. Bush a middle finger during a
concert over the protracted war in Iraq. His live show is a reflection of his
enduring showmanship and personal growth.
Latifah To Remake Steve Martin Comedy
Excerpt from www.eurweb.com
(April 27, 2007) *Queen
Latifah has signed on to executive
produce and star in a remake of the Steve Martin-Lily Tomlin comedy, "All of Me," for New Line Cinema.
The original 1984 film followed a dying spoiled heiress (Tomlin) whose soul
ends up in the body of a successful lawyer (Martin). She controls the right
side of his body while he controls the left, which causes friction and comedy.
Latifah’s version is set in the world of politics, where a female Jesse
Jackson-type finds herself in the body of a staunch conservative. The
Oscar-nominated actress will executive produce with her partner-manager Shakim
Compere of Flavor Unit Entertainment. Adam Shankman will serve as producer with
his Offspring Entertainment partner Jennifer Gibgot.
“All of Me” marks the third time the rapper-turned-actress is pairing with Shankman.
Latifah is starring as Motormouth Maybelle in Shankman's adaptation of
"Hairspray," which New Line releases in July. Their first
collaboration was the 2003 hit comedy "Bringing Down the House,"
which also starred Martin. New Line's been developing the "All of
Me" remake for the past two years, according to Daily Variety, and had
first hired scribes Brent Goldberg and David Wagner to write a modern take on
the story with Wanda Sykes in the Tomlin role. "When New Line told us that
they wanted to remake it with an African-American actress in the role, we said
it's got to be Latifah," Gibgot told the Hollywood Reporter. "Adam
adores her and thinks she's great with physical comedy, and as it happens, she
wants to go back to doing physical comedy."
A Festival Where Colour Matters
Excerpt from www.thestar.com - Bruce
Demara, Entertainment Reporter
(April 27, 2007) As the face of Toronto continues to change,
so must its theatre experience. That's a big part of the raison d'être behind Factory Theatre's CrossCurrents Festival. "Us coloured people get first dibs," says Nina Lee
Aquino, producer of the sixth annual, 10-day event launching today.
"My priority is looking for actors of colour, dramaturges of colour,
playwrights of colour." Colombian-born actor/writer/director Beatriz
Pizano, whose latest work, The Communion, debuts Tuesday, says
CrossCurrents offers a wonderful forum for theatre professionals of colour.
Piano, who has acted in Toronto for 20 years, says it is only in recent years
that people of various ethnicities have started to get more stage work. "I
was trying to create work for myself just because casting was so hard. I worked
tons in film and television, but when it came to theatre, it was almost
impossible." As important, she added, is reaching out to young
people from diverse backgrounds and letting them know they have a role in
Toronto's theatre scene.
"I have worked with young people and am trying to figure out why they
don't want to see theatre. It's (because) they don't see their stories
represented onstage. They don't see themselves onstage," Pizano says.
Mainstream audiences are too often content with stories that portray people of
colour in the stereotypical immigrant/identity struggle, Aquino says. The
festival's aim is to move beyond those types of stories to present "more
sophisticated themes" with fresh and startling new perspectives, she said.
"That's what this festival is about, it's not `Come see (mainstream)
stories onstage,' it's `Come see other stories onstage and learn more about the
world around you,'" she added. "That's what I love about this
festival, that it honours the differences, it doesn't try to change (them).
We're just going to tell these stories and ... we'll let the colour of our skin
speak for itself," Aquino said. For the first time, the Stratford Festival
is co-sponsoring one of the productions, Who Beat Rocky? by Vancouver
playwright C.E. Gatchalian.
::MUSIC NEWS::
Rihanna’s 'Umbrella' Scores Highest
Rhythm Debut Ever
Source: Amina Elshahawi, ThinkTank
Marketing, amina@thinktankmktg.com, www.thinktankmktg.com,
(April 27, 2007) (New York, NY) -- RIAA platinum,
award-winning
SRP/Def Jam recording artist - and newly signed CoverGirl spokesperson - Rihanna celebrates the exclusive premiere of the video for
her current single "Umbrella" (featuring JAY-Z).
CoverGirl is presenting Rihanna's exclusive video debut at www.thisisrihanna.com.
"Umbrella" was directed by Chris Applebaum, who shot Rihanna's
"S.O.S. (Rescue Me)." Rihanna scored her highest
career debut at Rhythm Radio last week when "Umbrella" entered the
R&R (Radio & Records) BDS Rhythmic chart at #31-bullet (the #2 Most
Increased audience of the week, +1.2 million to a total of 4.9 million!). This
week marks the song's official impact at radio. "Umbrella" is
the #1 most added at the Pop and Rhythm format, with over 110 pop stations on
impact and over 50 Rhythm adds. The single has over 40 million in audience and
over 5300 spins. "Umbrella" is the first single from Rihanna's
eagerly awaited third album (in two years), Good Girl Gone Bad, set for June
5th release.
Click HERE to watch and DOWNLOAD FOR FREE Rihanna's New Video
for "Umbrella" featuring Jay-Z! The video is directed by Chris
Applebaum. In the meantime, click either of the links below to HEAR
"Umbrella."
Umbrella featuring Jay-Z
WM
Hi:
WM
LO:
REAL
Hi:
Rihanna enjoyed a tidal wave of industry acclaim in 2006 with her RIAA platinum
second album A Girl Like Me, and its back-to-back #1 hits, "S.O.S."
and "Unfaithful." At the year-end Billboard Music Awards on
December 4th, she took away four top honours, including FEMALE ARTIST OF THE
YEAR, FEMALE HOT 100 ARTIST OF THE YEAR, FEMALE POP 100 ARTIST OF THE YEAR, and
HOT DANCE AIRPLAY SONG OF THE YEAR for "S.O.S." She finished
out the year as guest performer on Dick Clark's New Year's Rockin' Eve
spectacular. In July 2007, 19-year old Rihanna will be seen in her first
ads as a CoverGirl, joining the ranks of Queen Latifah, Molly Sims, Christie
Brinkley and Keri Russell. The long list of famous CoverGirl models
(which began in 1961) also boasts Cheryl Tiegs, Rachel Hunter, Tyra Banks, and
Niki Taylor.
"... her new single is "Umbrella," an icily elegant song built
around that singularly inelegant word…Rihanna's voice, nimble and cool, is
perfectly suited to this sort of thing.." - NY TIMES
Michael
Bublé - Call Him Corny, He Won't Mind
Excerpt
from www.thestar.com
-
(April 29, 2007) Corny. Cheesy. Scary. These are the
words Michael
Bublé employs to discuss how his girlfriend,
actor Emily Blunt (The Devil Wears Prada) wound up singing on his new
album. One does wonder, why would the popular retro crooner risk obliterating
the memory of that duet with Nelly Furtado on 2005's It's Time with
some Michael Bolton/Nicollette Sheridan-style schmaltz? Well, Bublé
avers, his girl can sing; besides, he didn't come up with the idea to
include the Golden Globe winner (for Gideon's Daughter) on a remake of
soul classic "Me & Mrs. Jones." "(Producer) David Foster
thinks that she has such an incredible voice that he asked her to do it,"
Bublé told the Star in an interview earlier this year. "At
first, she said no. And I said, `You know what, David? I don't want to be
corny. I think it's cheesy to do a duet with your partner.' "But we
listened to it after and said, 'Man, it's beautiful!' And it's kind of cool for
her to be Mrs. Jones. "I knew she could sing, 'cause when I met her
she said that her favourite song on the album was (the Furtado collaboration)
'Quando, Quando, Quando.'
"I said, 'Yeah right, go ahead and sing it.' She sang it, and I said, 'Oh,
my God, you can really sing, girl.' It's really scary how talented she
is." Hmmm. These gushy revelations do make one wonder if there are plans
for the comely Brit to become Mrs. Bublé. "I don't know," said the
suddenly serious wisecracker. "I hope so. I don't want to get too far
ahead of myself." And singing with his sweetie – who hits just a few
dreamy notes near the end of the track – should not be equated with the desire
to be a headline-making celebrity couple, said Bublé, who describes a low-key
off the road existence in his native Vancouver, playing hockey and hanging out
with his sister's young children. "Neither of us want our celebrity to
overshadow our work. We don't go to a lot of the fancy parties and a lot of it
cringes us out. "I keep reading these magazines and seeing these TV
shows, and it's like, `What the heck is this person famous for?' They don't
sell records, their movies tank, they don't sell out their concerts, yet
they're on the front of every tabloid. The currency of celebrity is worth more
than it has ever been."
Though he eschews the publicity game and projects a boyish, happy-go-lucky
demeanour, Bublé, 31, takes seriously the business of music. For months now, in
anticipation of Tuesday's release of his third album Call Me Irresponsible,
he's been monitoring Billboard's sales charts. "When It's
Time came out two years ago and we did 92,000 copies that was good enough
for No. 7," he says. "In the last four weeks the No. 1 record sold
60,000 copies. It's sad. If I could do 6 to 7 million again I would love that,
but all I can do is make the best record I can." That meant utilizing the
tried and true – production team of Foster and Humberto Gatica, The Great
American Songbook, a big band – with a few gems from Leonard Cohen and Eric
Clapton and a bolstered swagger. "The ballads I sang live off the floor
with the orchestra and the strings. We traded in some instances the perfection,
that slickness that David Foster brings, for raw emotion. "David is
a pop guy. He loves to synthesize s--t. But when we do a song with a big band,
that's what it's going to be. It's enough to have swinging horns and a great
rhythm section, we don't have to put that other stuff in. "There's
mistakes: some pitch things I'm sure and intonation things that weren't perfect;
but I meant everything I sang." Parts of the album were recorded at
Capitol Studios in California where the walls display photos of legends who
have worked there, such as Frank Sinatra and Ella Fitzgerald.
"You just hope you're doing it justice, because it's expensive. You're
talking about $50,000 an hour with (the orchestra). You get your three takes
and that's it. It's nerve-racking, but thrilling. "All my life I lived and
breathed and studied this music: Cole Porter, Sinatra, Tony Bennett, Bobby
Darin, even (Harry) Connick. I knew so clearly who I wanted to be and how I
wanted to sound." Bublé also co-wrote two songs, one more than his last
record's successful "Home." "I don't know if I'm ever going to
do the all original thing. I love reinterpreting these great standards. there's
a reason why some of these songs are 90 years old and people still know them:
they talk about things that are always going to be relevant: love and
loneliness and betrayal. He concurs in his best Darth Vader voice that
"Lost," penned with Jann Arden – "I watched the whole thing
fall/And I never saw the writing on the wall" – reveals a "dark
side." "When I wrote it I was melancholy. I sat for the first
time ever and wrote it on the piano and I don't play the piano so it was a long
process of me sitting there punching out the chords. It's one of the deeper
things that I've written." The upbeat "Everything," written with
Foster's daughter Amy Foster-Gillies, appears to reflect his current state.
"When I was writing it, I did think about Emily and I would love to say
cheesily that I just have one person in mind when I'm writing a song, but
there's a formulaic thing that's happening there. "I'm thinking is
this a catchy hook? Have I written a great melody that people are going to go
home and sing in the shower? "I told Amy I wanted `Everything' to talk
about all of the things that just one person can be to you. "Some of
my favourite lines in the song are: And I can't believe I'm your man/And I
get to kiss ya baby just because I can. Stupid little stuff that means
something that I would actually say. "I told Bob Rock (who produced that
tune) that I wanted it to not stray too far away from my personal style, but to
have that great cross between a Norah Joneseque feel, but with a little John Mayerish
kind of edge and a percussive feel of Jack Johnson. `Cause that's still in my
world, but perhaps can get on a different format in radio." His
desire to make "music palatable for everyone" is paying off as Bublé
sees the median age of his audiences fall. "When that first record came
out it was a pretty aged group of people that would walk in the door. The
second record brought the older folks, but also 13-year-olds. "My
favourite thing about what I do and especially live is that my audience is
wonderfully eclectic. "You see young and old, and black and white, and
yellow and red, and grey and gay and straight, all sitting in one place
grooving. It's awesome." And with the recording industry in flux, he's
banking on live performances to sustain him. "I'll just keep on being my
jackass self onstage and really loving what I do and being sincere. I hope
that's infectious."
Arden Loves To Please
Excerpt from www.thestar.com - Greg
Quill, Entertainment Columnist
(April 26, 2007) The more that's made of Jann Arden's alternatively
sad and funny stage routine, of the way she juxtaposes her melancholy,
mid-tempo music with often outrageously funny banter, the easier it is to
dismiss what a smart, honest and truly powerful songwriter she is. Few
composers have mapped the terrain of loneliness and longing that comes with
having grown up different and not so pretty in a conservative suburban
community as well as Calgary's beloved musical export has done in the 20 years
since she made her first mark as a recording artist. Arden reclaimed that
territory last night with a well-paced, warm and generously inclusive
performance, the second of four concerts at Massey Hall. But even she's
inclined these days to make light of her special gifts. While praising the
members of her exceptionally tasteful band for their mastery of "so many
different kinds of music," she added: "All depressing ... but
different.” No one in the audience – a devoted crew familiar with every brave
and painful lyric – seemed to mind this self-deprecating aside. They were
waiting for the funny bits between the lonesome hits, for Jann the comedy queen
to clown her way to centre stage.
Arden did that effortlessly. She loves to please, and her sense of humour is as
well-developed as her musical smarts. Wearing a bundle of black haute couture
and high-heeled boots – and noticeably less corporeal than the last time she
performed here – the comic seemed at times to mock the singer, to shatter
gleefully the solemn spell created by such aching songs as the heartbreak
ballads "Willing to Fall Down" and "Hanging By a Thread (When I
Cry)," the wistful road rocker "Where No One Knows Me," and, of
course, her trademark piece, "Insensitive.” After chatting up a man in the
front row who was sitting alone beside three empty seats, Arden continued to
endear herself to the crowd with brief glimpses of her desperate childhood in
her parents' basement, impressions of her mother and father – "a
non-person since his stroke" – making plans to visit ancestors in Kiev,
and a hilarious story about a flying feminine pad at a high school dance. “I
had to stop and ask myself if it's in my best interests to point that
out," she said, staring at an imaginary spot on the floor. The line
brought down the house, as did another routine in which Arden hauled two women
– conspicuous after a security functionary had confiscated their camera – up onstage
and sat them at a cloth-draped table, complete with a lit candle, and
encouraged them to join in on a rousing rendition of the 1970s Carly Simon hit
"You're So Vain," one of several period pieces from Cover Me,
her current album, a collection of 1960s and '70s favourites. It was a perfect
Jann Arden moment – personal, intimate, and utterly human.
Idol Chatter On Return Of The King
Excerpt from www.thestar.com - Canadian
Press
(April 27, 2007) A technological feat that allowed Quebec
diva Céline Dion to sing alongside the late Elvis Presley had music and tech fans abuzz with wonder
and speculation yesterday. Reaction was mixed as couch critics weighed in on
the unusual televised duet, which saw an understated Dion and a
realistic-looking Presley join voices on the American Idol stage to sing
his 1968 hit "If I Can Dream" on Wednesday. "That Elvis/Céline
thing was too ... creepy," wrote blogger Lady Starblade. Others were
mesmerized. "It was the most magnificent thing I've ever seen in my
life," 32-year-old Maddie wrote on her blog. The bizarre pairing was
for the live charity event Idol Gives Back, which has already raised more than
$60 million (U.S.) for poverty relief. Seeming to appear onstage in a
crisp white suit, Presley seemed to interact and harmonize with Dion, in
complementary black. The whole bit had been assembled on videotape previously,
so no one in either audience saw Dion, much less had an Elvis sighting, at
CBS-TV studios or at Walt Disney Concert Hall, where most of the evening's live
music took place, the Los Angeles Times reported.
Presley's performance of W. Earl Brown's "If I Can Dream"
came from his 1968 TV comeback special, which rejuvenated his career after it
had been in the doldrums for years. With Photoshop-like technology, the
39-year-old Presley footage was morphed with recently taped shots featuring
39-year-old Dion, as though it were taking place at the same time as the rest
of Wednesday's show. "When they filmed him from the back, it's a bit
chunky, a bit like ... something off a game," said hologram expert Steve
Wilson from London. In the 1968 special, Presley was in the same white suit but
against a simple dark backdrop bearing his name in lights. It would have been
fairly straightforward to cut out his silhouette and use a "green
screen" to place him on the Idol set, said Wilson. He estimated
such a job would run up to $100,000 (U.S.). An Idol spokesperson said
only that an Elvis impersonator was used "at one point." Meanwhile,
fans can download audio and video from the Idol Gives Back special on iTunes, with
proceeds from sales donated to relief organizations. Performers include Kelly
Clarkson; Gwen Stefani; Josh Groban; Carrie Underwood and others.
Ray Chew: Passionate And Prepared To
Blaze His Own Trail In Music
Excerpt from www.eurweb.com -
(April 27, 2007) *If there was a word to describe the
essence
of Ray Chew, it would be ‘prepared.’ He’s been involved in
music ever since he was five years old, he’s worked with everyone from Dionne
Warwick to Alicia Keys, and he’s worked with all genres, from Gospel to Hip Hop
and R&B. He would be the first to tell you that anything worth
having is worth working for and that’s what he’s spent the balance of his life
doing, working hard. Inspired by legends such as the known musical
perfectionist, Quincy Jones, Chew attributes most of his success to his
undeniable work ethic: “One of the main things that happened to me when I
was five years old was that I was born into a real learning environment…my
mother recognized that I had talent, but you know, talent ain’t enough, talent
is never enough. You have to have talent plus attain skills,” he says.
“So read music and be more proficient at your instrument…but if someone has got
a real talent like writing songs, and hearing music and coming up with
ideas…well you can’t teach that…you take that then marry it with a real work
ethic…that’s what prepares people to be professionals.”
His mother’s recognition of his raw talent led to him being accepted into a
special school at 5 years old. That began his journey…his instrument of
choice, the piano. But would talent and training be enough to take him to
the highest heights in his music career? That question calls
to mind one more term that can be used to describe Chew: ‘passionate.’ His
talent and training, coupled with his deep passion for music led to that
aforementioned undeniable work ethic, which has taken him places he never
would’ve imagined. He’s gained a great deal of respect for his tireless
approach to honing his craft. And it takes one to know one. He
acknowledges an industry cohort that takes a similar approach to her career,
Alicia Keys: “What I like about her is her professional work ethic, which I saw
happen at a very early stage in her career. When she got signed to J-Records, I
got a call to come in and organize her showcase, I’ve been apart of her team
ever since. I got to see her as a young artist develop, but she had a great
foundation and a great work ethic, she would do interviews all day, acting
class, and then do eight hour band rehearsal and then, after the rehearsal,
she’d say ‘come on Ray, let’s go and play.’” The affiliation with Keys alone would
certainly keep one busy, but that’s just one side of his multifaceted career
... and life for that matter. He was just selected, for the second year,
to spearhead the music for the illustrious 2007 BET awards, he’s the music
director for the venerable “Showtime at the Apollo,” and he’s a family man and
devout believer. When discussing how he balances his career and his family,
Chew says:
“One of the most important things to me is being a dad. I spend a lot of time
with my daughters, and I’ll drive anywhere to pick them up and take them where
they need to go. My wife is real important to me. My wife is also in the
business, she’s the international marketing guru around the world and she has a
long history. We could spend an hour talking about what she does. We came
together as an entity within ourselves. I’m enjoying the ride that I am on. I’m
having a good time, I’m doing what my values are telling me to. My values are
telling me that I’m not putting things ahead of my family and ahead of my core
beliefs. I’m a Jesus believer, and that’s what I do, Jesus saved me and I
believe he can save others, and that’s my testimony.” Having accomplished so
much already, what’s next for Ray Chew? “My goals right now, along with
producing movies for TV, I’m scoring music for films, so I’m working on some
MTV projects right now, and we got some Paramount pictures stuff ahead. I won’t
speak on specific ones yet. I’m gonna win an Oscar and a Grammy for my
composition, so I’m looking ahead right there. Not because the Oscar is my
goal, the Oscar is the end result and the by product of the fruits of my
labour. I work very hard and earnestly, and not just doing jobs, what I ‘do,’
and I’m very proud of my work ethic” he said. Chew seemed to have a light that
illuminated the conversation with knowledge and wisdom as he spoke. He
offered these final words ‘to grow on:’
“I remember the first time I was chased (in) the park by some boys. My mother
opened the door and saw me running and saw them, then closed the door.”
From that point he learned that he had to deal with the world head on. “Don’t
run from a challenge, don’t run from a problem. I like to meet a challenge,
straight up and head on, and that’s why I feel I have a lot to contribute not
only to the music industry, but also the world” he said. “I’ve seen a lot
of really good musicians and singers that just can’t seem to make it in the
industry. Now making it is relative. When I say make it, first of all make a
steady living at it so that you could support yourself or family. Step number
two, see if you can graduate try to dream ahead of where you are at ... dream
further, dream upward and then see a star, shoot for it and go on and grab it,
that’s success.. If you do that one time, you feel like ‘man I did something,’
and then when you get there, its time to look at another star and dream
ahead.” For MORE on Ray Chew, visit his website: www.raychew.com or his MySpace page: www.myspace.com/raychew281. You
can hear him crooning his super smooth cut "Bringin' It" at either
location.
“Any kind of success, which is relative, is the combination of opportunity and
preparation. I’ve had years in the field, years of study all before…so everything
that I’ve done has prepared me for my next step.” ~ Ray Chew
Still Classic After All These Years
Excerpt from www.thestar.com - Geoff
Chapman, Jazz Columnist
(April 26, 2007) Arlene Smith is one crafty veteran, owner-operator of a
classic jazz voice that is most at home singing classic jazz songs. When you
learn she cut her jazz teeth in the early 1950s with Steve Garrick's big band
in Montreal when she was just 15, you have to wonder how she's preserved that
distinctively warm, expressive sound. She releases her new CD Two for the
Road at Opal next Thursday, a rare chance for connoisseurs of fine singing
to enjoy her and disc-mate Mark Eisenman on piano plus bassist Steve Wallace.
Her third album (following Until Today and Stirred Not Shakin')
offers 16 songbook specials including lesser-known delights such as Cole
Porter's "Down in the Depths on the Ninetieth Floor." Of particular
note are the appealing "But Not for Me," an elegant "Some Other
Time," a wry "Everything Happens to Me" and a marvellous
"When The World Was Young." Eisenman has an immaculate idea of piano
accompaniment and he perfectly complements the way Smith gets inside a song,
projecting its emotional meaning. The recording came about when jazz lovers
John and Patti Loach heard Smith sing in Toronto's Le Select Bistro and
suggested the project. It happened in the Loach studio.
"I've always wanted to do a duo, and it was like a private jam
session," she said from her Roseneath, Ont., home on Rice Lake. Plenty has
happened between blossoming in Montreal and singing hereabouts and at Ontario
jazz festivals. As she confesses in her liner notes, she used to learn by
listening, scribbling the words to songs in stores where recordings could be
sampled. Smith, whose comrades in Garrick's band included trumpeter Guido
Basso, didn't grow up in a musical family. But she recalls singing at a Quebec
lodge at 8, being entered in talent shows and entertaining at school dances
with ditties made popular by swing stylists Kay Starr and Teresa Brewer.
At 12, however, she heard Stan Kenton's band, whose singers included Anita
O'Day and June Christie. "That's when I decided I'd like to sing something
cool." At 18 she moved to New York intending to study at the
Juilliard School. Instead she met pianist Ellis Larkins, they married and ran
their business from Beefsteak Charlies on 52nd Street, performing mainly in
East Side clubs including sessions with legends Vic Dickenson and Clark Terry.
That marriage ended but she remarried, halting her singing to run a real estate
business and raise huskies. She moved back to Quebec in 1973. Tragedy
struck the following year, when she lost her son Ellis Jr. and husband in a
motorcycle accident. She went back to Montreal, "where I started to
express my grief. Then I met (pianist) Oliver Jones, who was returning home
after eight years in Puerto Rico. We needed to get back our jazz chops, and we
used to practise at Tiffanys." Smith began singing and working at the
L'Air du Temps jazz club while she helped start another venue, La Voute at
Sherbrooke and Guy – "there were some wonderful years." Guitarist Reg
Schwager suggested she try Toronto, so she did from 1985, starting work with
vibist Peter Appleyard and playing all the clubs, including long-gone George's
and Basin St., while keeping a day job managing a fashion house. "Now I
sing when I can, but I don't often find venues where what I sing will be
appreciated." But she still loves it, her favourites Carmen McRae, Ella
Fitzgerald, Mark Murphy and Kurt Elling – and still keeps in tune at Roseneath
alongside bass Rick Homme and pianist Shelagh Purcell.
Just the facts
Who: Arlene Smith
Where: Opal Jazz Lounge, 472 Queen W.
When: May 3 at 8 p.m.
Tickets: $15@416-646-6725
Rogers Pitches For Pay Audio, Hoping
Ears Will Tune To Web
Excerpt from www.globeandmail.com -
Grant Robertson
(April 26, 2007) One of Canada's biggest broadcasters is placing a bet that the
future of radio isn't necessarily in radios.
Rogers Communications Inc. may learn in the next month if it will get
permission to start a pay audio service aimed at listeners outside of
conventional radio, which could eventually be used to stream music to
cellphones and Internet receivers in cars. The Canadian Radio-television and
Telecommunications Commission began poring over the proposal in March. It is
the latest step in Rogers' strategy to bundle services for its cellphone, cable
and Internet businesses. Rogers, which operates 51 AM and FM stations across
the country, wants to create a 30-channel pay audio network, with a variety of
music and talk formats. Much of the content will be original, but the company
also plans to mix in conventional programs.
Rogers Communications
If approved, the new business would face stiff competition in the rapidly
fragmenting world of radio. It would battle commercial radio, satellite radio,
streaming audio on the Internet and music downloads on phones. It would also
fight for a piece of the pay audio market offered by services such as Max Trax
and Galaxie, which are carried on cable and are often used in restaurants, bars
and retail outlets. Rogers officials say the company doesn't want to limit
itself to any one of those markets with the proposed service. "It's going
to be about content that's going to be available on a number of different
platforms whether its some kind of receiver in your car, some kind of receiver
you're carrying around with you, or some kind of receiver in your house,"
said Alain Strati, vice-president of regulatory affairs for Rogers Media.
"It's the same thing with satellite radio. It's called satellite radio,
but it doesn't have to come from there." Satellite radio providers XM and
Sirius have negotiated deals to put their channels on cellphones in Canada,
including those on the Rogers network, in an effort to expand their monthly
subscribers, who pay about $15 a month. Meanwhile, Internet radio services are
trying to position themselves for the day when wireless Web access is readily
available in cars.
Pay radio can be a tough market, though. Satellite radio companies have spent
heavily to attract customers with exclusive content. Rogers estimates its pay
audio service will be profitable in its second year, and will post more than
$2-million in revenue by its fifth year. The idea has faced opposition from the
CBC, which owns the 45-channel Galaxie service and also holds a 40-per-cent
stake in Sirius Canada. The public broadcaster argues Rogers' proposal to
include talk and news programming is a threat to its satellite radio
operation. Other companies have contemplated similar ideas before. CHUM
Ltd. considered launching a subscription service in 2005, but never pursued it.
A decision on the Rogers proposal could be made by June.
CD Music Sales Plummet
Excerpt from www.thestar.com - Greg
Quill, Entertainment Columnist
(April 27, 2007) Sales of CDs and music DVDs in Canada in the first quarter of this year fell by an
unprecedented 35 per cent – to $68.7 million from $105.6 million in the same
period in 2006 – the most drastic decline in "physical" music sales
of any country in the world, according to figures released yesterday by the
Canadian Record Industry Association. Unit sales for the same period were down
30 per cent, to 7.1 million from 10.2 million in 2006. "There was no sign
at Christmas that our early 2007 sales would be as bad as this,"
association president Graham Henderson told the Star. "This
is the largest ever annual decline in Canada's music market. It's like the Wild
West up here." While hard-copy sales were expected to diminish because of
the shift to digital formats – they fell by 12 per cent in 2006 over the
previous year – the corresponding increase in legal digital downloads reported
in the U.S., Europe, Asia, Australia and Japan has not occurred in Canada,
where free file sharing and other unpaid downloading are still considered legal
by many users, and law enforcement lacks the resources to police digital
piracy, Henderson said. Based on research conducted last year, conservative
estimates are that 1.3 billion unauthorized downloads occur in this country
each year. It's estimated there were 20 million legitimate downloads in 2006.
Henderson and others in the Canadian music industry painted a grim picture of
the state of the musical nation. Sales of CDs and music DVDs in the U.S. during
the first quarter of 2007 have fallen by about 20 per cent, he said. "But
in the U.S., the percentage of music revenue attributable to legal digital
downloads is 17 per cent. In Canada it's 6 per cent." That's bad news for
the Canadian record industry. And it comes after an almost unbroken string of
declines since the popular spread in this country of unauthorized file-swapping
technology, and the proliferation in recent years of CD and music DVD
counterfeiting. Digital music sales are not replacing lost CD and DVD
sales as they are in countries with aggressive copyright protection laws
banning file sharing, and punitive enforcement policies. "There's mass
confusion in the (Canadian) marketplace about whether downloading is even
illegal," Henderson said. "Successive federal governments have
been in a state of paralysis for the past decade over copyright reform that
would explicitly outlaw the unauthorized use of music and punish
offenders," he said. "Musicians themselves, who are working for
less than ever, are in a state of denial over the rights and wrongs of
downloading and music property rights. And law agencies don't have the money,
manpower or political backing to take action." With the release of its
report yesterday, the association is calling on the federal government to
update the Copyright Act, and to protect artists and other creators of
intellectual property from the unauthorized use of their work on the Internet,
Henderson said. The initiative is supported by the Canadian Chamber of
Commerce, and organizations representing music and book publishers and the
software and movie industries.
Morissette's Twin A Musician With Spirit
Excerpt from www.globeandmail.com -
Brad Wheeler
(April 26, 2007) He calls her Lanny. She calls him Imre. He's a world-travelling
yoga instructor and serene musician whose albums feature the ancient Sanskrit
language of India. She recently made a wacky My Humps video. Imre is the
middle name of Wade Morissette, twin of Alanis, a pop star whom you
already know. Brother Wade beat his sister out of the womb by 12 minutes, but
lags far behind when it comes to CD sales and celebrity recognition. Now, the
gap closes, if only slightly. Wade Morissette has signed on with the Nettwerk
label for the release of his forthcoming Strong as Diamonds album, a
pleasant synthesis of uplifting choral chant, soulful spirituality, mild
Western pop and soothing Eastern exotica. Imagine James Taylor in a jodhpuri
acting as Gandhi's interpreter.
“It's definitely an East meets West kind of thing,” Morissette explains from
Ottawa, his hometown. “People in the mainstream can relate to the melodies and
the English aspect of the music, but it's a little more unique because of the
Sanskrit element.” Morissette, a 32-year-old yogi often photographed wearing no
shoes, makes his way to Toronto this weekend for Yoga: The Conference and Show,
where he'll perform a concert, as well as holding workshops and leading a free
“trance dance.” By his own estimate, he'll sell somewhere between 150 and 200
CDs – commendable commerce, but nowhere close to the brisk trade done by
mega-selling sis. The spiritually motivated Morissette is not envious of
Alanis's chart-topping triumphs, describing his own schedule of yoga
conferences, retreats and workshops as “full and rich.” Not that he has disdain
for the star's life. “I think about touring globally and playing in front of
20,000 people,” he admits. “I could be happy with that.” The twins share what
Morissette calls a “psychic connection thing,” but don't work together
musically, other than to offer feedback and moral support. “We're very close,”
he says, “but we're also very individual when it comes to the creative
process.”
So, no nutty video, like Alanis's My Humps send-up? “We actually talked
about making a video, set in a yoga class, with people falling all over each
other,” Morissette says with a chuckle. Morissette, who grew his hair and
travelled to India at the age of 18 (right around the time his sister was
achieving her first pop success), has been in Vancouver for 13 years. Sometimes
his famous sibling seeks out his yoga instruction. You wonder what goes on between
the two. Cathartic chanting? Deep meditation? “It's different each time,”
Morissette says. “Sometimes it's eating nachos and going to a movie.”
Stars
Performer - Amy Millan
Excerpt
from www.thestar.com
- Entertainment Reporter
(April 28, 2007) Her Stars may be burning
ever brighter, but for a local girl
like Amy Millan, it just doesn't get much better than this. The
singer-songwriter is playing Massey Hall next Friday, when she will handle
opening duties for Ron Sexsmith. "I grew up in Toronto, so the magic
of Massey Hall has kept me on my toes for the last couple of months,"
Millan says. "It is going to be a huge excitement for me. I love Ron, and
I've just been a huge fan for a long time." Or maybe Millan – who joined
the solo artist circle with her album Honey from the Tombs last summer
– is just happy to be home. These days, most of her time has been spent jetting
around the country – she spent six weeks in Vancouver recording the new Stars
album, followed by a six-day pit stop in Montreal. "(The recording)
is great. We're all finished tracking, so we're getting ready to mix the record
here with a fella called Joe Chiccarelli, who's fantastic, and then we let it
hit the streets in September." The new record is going to be called In
Our Bedroom After The War, and Millan figures the band will be touring for
much of the year after it comes out.
But before living on the bus, she's got a string of Ontario dates and then a
bunch of stops on the folk festival circuit – which she says was her
Machiavellian motive all along. "That was my whole plan putting out
the record, so I could do folk festivals for the rest of my life," she
says. "They didn't really fit into the Stars business," Millan adds.
"I like to do rock festivals, but my first time going to a folk festival
was the Edmonton Folk Festival. (Sibling musicians) Jenny Whiteley and Dan Whiteley
were playing there and I got a `kin pass' – which is what you get if you are
friends or related to the band – so it was exactly like being an artist.
There's dogs and children, it's a great atmosphere, and this year I'm going to
go to the Yukon for the first time. I'm playing at Dawson City, which is really
incredible." Dan Whiteley remains a friend and is featured prominently on
her record – which is comprised of seven people, bigger than Stars, a bit
ironic when you consider it's a solo venture.. But Millan is pretty forthright
about the supposed differences between being a solo artist and her day gig in a
band. "These are the spins that the press does, like this being a
side project," she says. "It's all these sorts of terms that people
use to try to understand what it is – but really, it's all just art.
"People don't say, `Oh, I had a kid and now I'm having a side-kid.' You
know what I mean? It's my side-child that I don't love as much as my first
child. But it doesn't work like that, in our mind. We're just making music."
She adds, "Like the idea of it being a solo project ... I play with, like,
seven people, so this idea that it's a solo project is so far from the
truth. "It's my name, because I'm the person responsible for writing
the songs, but it takes a village to make a record. It takes a lot of people
and we're just lucky enough to be surrounded by a community of fantastic
musicians." Millan says she's firmly focused on the Stars until probably
next summer, when she plans to record her next solo record. She has about nine
or 10 songs already set, and two of them – "Bury This" and "Low
Sale" – are already part of her live repertoire.
Neil
Peart - Closer to the Heart
Excerpt
from www.thestar.com
- Pop Music Critic
(April 28, 2007) Although he's been the man
responsible for putting
thoughtful words into Geddy Lee's mouth for the past three decades, Neil Peart has rarely spoken publicly. A simple, human desire
for privacy is no doubt the main reason, particularly in the wake of the
horrific period at the end of the 1990s when the Rush drummer lost both his
wife and 19-year-old daughter within the space of 10 months. But given
the amount of writing done by Peart, who has authored four autobiographical
travelogues – The Masked Rider, Traveling Music, Ghost
Rider and the more recent Roadshow: Landscape With Drums – over
the past decade and religiously maintains the content at his NeilPeart.net
website, perhaps the man would just prefer to air his thoughts in a different
manner. True to form, he's mulling over his laptop, cigarette in hand, and
attempting to finish up a review of the latest Dave Eggers novel for the
"Bubba's Book Club" section of the site when this writer arrives one
Monday morning at a Port Lands rehearsal space. That's where Peart has been
whipping himself into shape for Rush's upcoming world tour. One of the virtuoso
drummer's legendary 'kits practically glows on a raised dais behind him.
The lengthy road swing – Rush won't hit Toronto until a pair of dates at the
Air Canada Centre on Sept. 19 and 22 – follows this coming Tuesday's release of
Snakes & Arrows, the trio's first album of new material since
2002's Vapor Trails. Co-produced with 36-year-old young Turk
Nick Raskulinecz (Foo Fighters, Velvet Revolver), it's a muscular, wholly
contemporary sounding update on the classic Rush formula of elevated
musicianship, metal anthemics and lyrical food for thougSht, the latter honing
in this time on matters of love but mainly of faith. "There was no
concept of Nick being the young guy at all. We were just kindred spirits
equally enthused about the work we were doing," says Peart, who like
bandmates Lee and Alex Lifeson is 54 and appreciates the occasional kick in the
ass from an outside observer in the studio. "We always like to have
somebody else's spirit, really – not just their voice or opinion but somebody
else's overlook on things. Somebody to encourage us, to prod us, with
arrangement ideas, performance ideas. "That's what happened with
Nick. We know how to arrange a song and we know how to record it and produce
it. We could do it ourselves, but we know it's better if we don't."
The band was, in fact, slightly awed at the precociousness Raskulinecz
exhibited in the studio. Peart credits the producer, a lifetime Rush fan who
would air-drum his ideas to Peart, with pushing the trio's already renowned
playing to new levels ("I wouldn't ask you if I didn't think you could do
it" was a favourite expression) and refusing to let it repeat past
glories. He was a vigorous enough taskmaster, in any case, that Peart is forced
to concede, "I've got nice blood blisters all over my fingers right now
from trying to emulate that performance." Peart's words, meanwhile, came
from some of the usual, rarefied sources – Richard Dawkins and evolutionary
psychology are current inspirations – but also in large part from his
experiences touring the back roads of America and Europe by motorcycle during
Rush's 30th-anniversary tour in 2004. It was on his rides through various Bible
Belts, chronicled in print in Roadshow, that Peart realized he could
no longer "stay neutral" on the topic of religion, he says. Snakes
& Arrows addresses some of his conclusions in tunes like "Armor
and Sword" and "The Way the Wind Blows," which ponder the
perversion of faith into oppression and war, and the telling
"Faithless," which rejects adherence to higher powers in favour of a
humanist allegiance to one's own "moral compass." "It came from
travelling through all these back roads and small towns and seeing these church
signs everywhere," says Peart. "Some of them are amusing, like: `If
you give the devil a ride, pretty soon he'll want to drive.' That's fantastic.
But other ones were just so presumptuous with these big crosses and scripture.
What makes you think that's okay? I tried to imagine going by one with the
crescent and star saying, `There is no god but Allah and Mohammed is his
prophet.' Or one with the Star of David saying, `That carpenter wasn't our
messiah.' It makes me laugh, in a way, but in another, this is so f--ked up.
"It's so arrogant and that's what I can't get over. So I was trying to
weigh all that .... I didn't want to make enemies gratuitously, but I decided I
had to say something because if I didn't I was just allowing that to happen.
It's worth speaking out despite the vilification and stuff that might come back
at you. If you're not speaking for reason, you're speaking for unreason."
For all the prose he's mined over the years from his touring experiences,
however, Peart remains only a grudging participant in the process. When Rush
hits the road, it hits it hard – the Snakes & Arrows tour kicks
off in Atlanta in June and wraps on Oct. 29 in Helsinki – and this has always
been an odd source of inner conflict for a drummer's drummer blessed with
playing in one of the world's most vaunted live bands. To keep things
interesting, though, he promises Rush feels somewhat "liberated" from
its catalogue after doing a pure greatest-hits tour three years ago, and will
this time be honing in on new material and "old songs that we haven't
played for years or that we've never played." One such gem from 1979 is in
the works, although he won't say which. "I've written before that I first
quit touring in 1989 and I've been quitting touring ever since," laughs
Peart. "No, I don't find it rewarding at all. It's arduous and repetitive,
but it's part of the job. I love rehearsing. What we're doing right now I love,
learning the songs and the three of us playing together and getting in lockstep
with the band and such. All of that's great and the first couple of shows are
great, but then it's six months of my life. I don't get my life back until
November."
"What does a band do? A band plays live. To me, that's fundamental and one
thing that's kept me from quitting all this time because it seems obvious to me
that if we stop playing live, we stop growing. It's not real. For us to be a
real band, I just accept that it's what I have to do. Nobody's job is heaven –
I look around all the time and I feel grateful to have that choice ...
"I know there are a lot of bands from our generation slogging around clubs
and state fairs just to make a living and we can choose every few years to do a
tour of huge venues and travel by bus or motorcycle, so I'm not being cynical
about it. "But I spent last year at home writing a book ... and
writing new songs and that's the good stuff. What we just did – the three of us
going away together and working together and creating new material – that's the
ultimate part of the job. "Going out and doing the same thing over
and over again, how can that be great unless you're so shallow that you feed
off that?"
Touring Still Gives B.B. King A Thrill
Excerpt from www.thestar.com - Cassandra
Szklarski, Canadian Press
(May 01, 2007) Blues legend B.B.
King says he's not one
for farewells. But as the guitar great embarks on an extensive Canadian tour,
it seems that King's retirement is all that people around him seem to be
talking about. "Every time I play some place, people are saying it's my
last time," King says by phone from Vancouver in the early days of a
16-city cross-Canada tour. "I feel fine, but maybe they know something I
don't." If Canadian fans are worried, it's only because the 81-year-old
has been on a bit of a farewell tour of late overseas. Last year, King declared
a trip to Europe as likely his last, and similarly suggested that a visit to
Brazil would stand as his send-off to South America.
Now that he's begun one of the biggest Canadian tours of his lengthy career,
can he fault Canadian fans for fearing this could be their last chance to see
the legend perform live? Touring has become a bit more difficult in his old
age, he admits. King's current tours generally run two to three weeks and are
followed by a respite at his Las Vegas home. "I notice I'm getting
older," says King, whose 1970 crossover single "The Thrill Is
Gone" remains his biggest hit. "Maybe my steps are a little shorter
than they once were." He's also been "a little sickly" of late.
In January, a fever put him in hospital. "I really was in bad
shape," says a soft-spoken King, who has also lived with diabetes for
nearly 30 years. "But the third day ... I started flirting with the nurses
so they threw me out." Nevertheless, the drive to perform persists, says
King, who opened the Canadian leg of his North American tour in Victoria last
Thursday. The show reportedly saw him mug for the audience while seated in a
chair throughout his performance, tossing banter and gold-coloured chains to an
adoring crowd.
Reminiscing about his career, King admits he's become a bit weary of farewells
himself, lamenting that several talented contemporaries have recently died,
such as friend and fellow blues guitarist Robert Lockwood Jr. "I see so
many of my friends and acquaintances and people that I don't know that are
dropping out now. Losing so many, it seems to me at this time that I'm about
the oldest one that's still out here," he says. "They're all leaving
me, it seems like." Still, he says he gets a thrill from touring and
meeting with devoted fans in person. This year marks his 60th anniversary of
performing live, and he says he can't imagine a day when he'll stop. A lot has
changed since the musical phenom first hit the road in his 20s. King's most
staggering run came in 1946, when he staged 342 one-nighters, a feat he still
proudly brings up. His current tour is a much tamer affair. King says his only
woman now is a six-string called Lucille, and his cross-country ride is a
luxury tour bus he bought in Canada. King's tour arrives in Toronto on May 11 and
wraps May 19 in Saint John, N.B.
The Faces Of Tori Amos
Excerpt from www.thestar.com - Ashante
Infantry, Pop & Jazz Critic
(May 01, 2007) If Tori
Amos has a reputation for
eccentricity, it will be solidified with the arrival of her ninth studio album,
American Doll Posse, in stores today. Not only has the
singer/songwriter/keyboardist recorded the songs as four distinct female
characters (Isabel, Clyde, Pip, Santa) besides herself, but each one will have
her own blog and take turns opening for Amos on her upcoming tour. "I've
been confusing people from the beginning," the forthright entertainer said
during a visit to Toronto yesterday. Since her 1992 debut, Little
Earthquakes, Amos's whimsical approach and quivering vocals have sold more
than 12 million records. The trappings of her new record seem gimmicky, but the
23 songs exude political and moral strength with their feminist explorations.
The classically trained pianist and North Carolina native is a savvy
entrepreneur who owns her merchandise company, is a partner in the firm that
manages her, and recorded American Doll Posse in the state-of-the-art
studio at the Cornwall, England compound where she resides with her husband and
daughter.
Q: What is the source of your
tremendous well of compositions?
A: My
grandfather was part eastern Cherokee and he had such influence on me till I
was 9, when he died. He was a great storyteller and he would encourage me to
listen to the myths and the stories of the Indian people. He said, "You
understand musical keys, but there are story keys, so when you go back into the
keys, then you're able to go to the root of a chord." I'm not the one
doing it, it's a co-creation.
Q: What compelled you to explore
this idea of the "dismembered feminine?"
A: The female
types in Christianity – from the point of view of the minister's daughter –
were amputated: mother Mary not having her sexuality and Magdalene not having
her spirituality. This drives me to tell the story of the complexity of woman.
Female sexuality is breaking my heart now: to rebel, women are demeaning
themselves.
Q: Often in pop, image is used to
obscure lack of talent and substance; why risk taking the focus off your lyrics
and message with these different characters?
A:
Everything's an image. As you become older as a woman you recognize that. The
red-headed girl at the piano? It's not the only choice, if I'm honest with you,
I could have made. There are many sides to the women I know that are much more
complex. Their boyfriends look at them thinking they know (them), and I'm
sitting there thinking, if I were a guy I'd be stealing her from you. I've
always thought Johnny Depp may know how a woman tastes, but I know how she
thinks. We're the same age, Johnny Depp and I.
Q: What age is that?
A: 43. And
isn't it interesting that we, as woman at 43, our place in the industry is very
different than men at 43. There are not a lot of (female) heartthrobs at 43.
And there's something in me that felt for the first time since being a mom I
wake up happy in my skin. I think I needed to become a beached whale – get so
big and create this life – and by giving birth I recognize what my body as
woman could do without any shame or any kind of idea that sexuality isn't
sacred.
Q: How has having a child informed
your work?
A: When (my
daughter) was a toddler ... I was investigating the nurturing side of woman.
I'd been a warrior for so long, I had no problem addressing things with the
anger side of myself; but the compassionate side and the side that doesn't put
yourself first was not something I knew too much about. As Tash has gotten
independent – she's 6 1/2 now – I could pick up the tomahawk again and
address certain issues for women.
Q: Were you concerned about the
possibility of backlash for taking President Bush to task with "Yo
George"?
A: Well, my
name is Tori and "inflamma-Tori" is what I do. I've never been
America's sweetheart, ever. I love my dad, but he is a Republican and we don't
agree.
Meet Liv Warfield From Oregon
Source: HPR, SashaB310@aol.com, www.heliopr.com
(May 2, 2007) Liv Warfield is one of the most promising
voices in indie soul music today. Her triumphant debut album, Embrace Me, is a
compelling overload, combining warm, seductive vocals and vintage R&B with
a funky new-age twist. Her music is a celebration of love and
life; a powerful package of brilliant songwriting and flawless harmonizing. But
Liv's greatness lies in her simplicity. She still has that demure
mid-western charm about herself and a unique vulnerability that paints a
picture of a young woman with an old soul full of timeless, liberated melodies.
"Ascending from a family history of extraordinary talent arises a
self-trained singer, songwriter, performer, arranger and co-producer, Liv
Warfield. Warfield is R&B's purest new musician since Sade.
Out of an era dominated by the R&B synthesizer, over sampled hip-hop
production and a distinctly bohemian neo-soul movement, emerges a fundamentally
pure artist that defies the modern trends of her genre and embodies a global
art form through her cross-categorical appeal. A singer who organically blends
classic soul, electric rock, sultry rhythm and straight-up sexy blues like Tina
Turner-and it's only the beginning. Artistic genius flows through the veins of
this Peoria-born songstress and close relative of the late comedian Richard
Pryor.
It is through Warfield's lyrical clarity, her vocal conviction and the
brilliance of her timeless arrangements, where she eclipses her contemporaries.
Her succinct and purposeful songwriting, inspired by the "message
music" of Curtis Mayfield, fuses her gospel-guided sensibilities with
secular lyrics that are sultry without sacrificing her foundation of moral
authority." -- CD Baby
Liv, who is the cousin of legendary comedian Richard
Pryor, didn't inherit her love of music by way
of genetics, Sunday morning church choir participation or school band
rehearsals, although she did play the violin for 13 years, Liv was a track star
who longed to sing. Born and raised in Peoria, Illinois to a family of
prideful, standout athletes Liv kept her emotions, talents and dreams to
herself and lived vicariously through her musical hero's such as Jill Scott,
Nina Simone, Tina Turner, Sarah Vaughn, Sade and Mary J. Blige.
"All of these women have strong voices and there is something in each of
them that I see in myself. They were not afraid to be vulnerable and
didn't put on fronts. They were raw, pure and intense."
Check out Liv's music at her MySpace page, HERE.
We Remember Platters Singer Zola Taylor
Excerpt from www.eurweb.com
(May 2, 2007) *Zola Taylor, the lone female singer in 50s
group “The Platters,” has died in Riverside County, Calif. from complications
of pneumonia, her nephew, Alfie Robinson, told AP Tuesday. She was 69.
Taylor was also among the three women who claimed to be pop idol Frankie
Lymon's widow. Halle
Berry portrayed Taylor in the 1998 movie about
the court battle, titled “Why Do Fools Fall in Love.” The singer, who
harmonized with the Platters on such hits as “The Great Pretender,” had been
bedridden following several strokes and died at Parkview Community
Hospital. It was founding Platters member Herb Reed who recruited Taylor,
the sister of Cornell Gunter of the Coasters, after catching her rehearsing
with a girl group in 1955. He said she had the charisma and vocal chops
the R&B group needed. The all-male outfit had just signed with Mercury
after their single "Only You" became a No. 1 hit and their manager
thought a female voice would be the perfect addition to soften their sound.
"She was a very pretty young lady and what a great, great smile,"
Reed told The Associated Press. "And she had this baby voice that everyone
liked. …We were the first Afro-American group to have a girl singer. That was
the talk of the nation. All of the sudden, other groups started looking for
girls."
The beginning of the end for the Platters came just after 1959 when four of the
male members were arrested in Cincinnati. Reed said he had been out of touch
with Taylor since the early 1960s. In the 1980s, Taylor and two other women all
claimed to be Lymon's widow and fought over his royalties. Lymon, a 50s teen
heartthrob with such hits as "Why Do Fools Fall in Love?," had died
of a drug overdose in 1968 at age 25. The courts eventually sided with one of
the other women. Robinson, Taylor's closest known living relative, said
his aunt continued touring with other lesser-known acts until 1996 and wed two
other times. Her last husband died in 1982, he said. She had no children.
Introducing Poison Pen
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